The purpose of this paper is to demonstrate how amateur choral singers experience collective group support as a method of learning "art music" choral work. Findings are derived from a grounded-theory based, socio-musical case study of an amateur "art music" Bach Choir, in the process of rehearsing and performing the Mass in B…

The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and…

Participation in an ensemble is a significant aspect of tertiary music experience. Learning and assessment practices within ensembles have rarely been investigated in Australia and the perceptions of staff and students as to how they learn and are assessed within ensembles remain largely unexplored. This paper reports on part of a larger project…

Informal learning has become a prominent theme in music education literature in recent times. Many writers have called for a new emphasis on informal knowledge and pedagogy as the way forward for music education. The position taken in this paper is that a central issue for music education is the accommodation of a tension between types of…

Despite strong philosophical arguments supporting the inclusion of music in all students' education, declining student participation rates in school music activities during the middle years of schooling remain an ongoing issue for music education researchers. This paper presents the findings of a case study examining the motivational factors…

This qualitative instrumental case study examines collaborative composing in the "operabyyou.com" online music community from the perspective of learning by utilising the concept of a "community of practice" as a heuristic frame. The article suggests that although informal music practices offer important opportunities for…

The distinction between learning to perform on an instrument or voice and learning music in a wider sense is one that is made in many countries, and is especially pertinent in England in the context of recent policy developments. This article argues that, whilst this distinction has come to represent curricula based on the opposing paradigms of…

This paper describes a longitudinal, collaborative case study, made in the framework of the project Students' Ownership of Learning (SOL) during one academic year with one vocal teacher and two female students. The aim of the study was to relate the interaction between the teacher's and the students' intentions and expectations to…

Work such as that of John Cooksey on boys' changing voices has influenced choral practice in the USA and in certain UK youth choirs, but has hitherto had little impact in UK schools where many teachers continue to believe that boys' voices "break". Different practices are found across the independent and maintained sectors of…

This paper explores the relationship between school music and community music in Australia. While many Australian schools and community music activities tend to exist in relative isolation from one another, a range of unique school-community collaborations can be found throughout the country. Drawing on insights from "Sound Links," one of…

The purpose of this article is to analyse three case study examples of musical "folkbildning" in Sweden. The first case study is from the establishment of the state-funded Framnas Folk High Music School in the middle of the last century. The second case study, Hagstrom's music education, is from the same time but describes a music school run by a…

In a recent article, "Sttepping in the right direction? Western classical music in an orchestral programme for disadvantaged African youth," "sttepping" was noted as no spelling error. The same applies here; reference is to STTEP Music School, an outreach project at the University of Pretoria. STTEP teaches the playing of orchestral instruments,…

For students in Years 1-10 in Queensland, Australia, The Arts (hereafter referred to as "arts") is one of eight Key Learning Areas in the core curriculum. Yet, while arts--comprising five strands including music--is a mandatory component of the curriculum, implementation varies widely. This occurs for a range of reasons, one of which is the common…

Within the context of British initiatives in music education such as the Wider Opportunities programme in England and the recommendations of the Music Manifesto emphasising the importance of singing in primary schools, the current paper explores examples of good practice in whole-class vocal tuition. The research included seven different primary…

In many countries it has become commonplace for students at school to undertake their own composing in the classroom. At the same time students often develop their own creative musical interests outside school hours. This paper looks at how teachers might re-evaluate students' self-initiated compositional activity. By utilising Martin Heidegger's…